A balanced review

[keeprighton2]

http://www.skyarts.co.uk/music/

[Sir Stewart]

FAIL

[cryptique]

I suspect he didn't get an advance copy, because he thinks the last song is called "Everlasting."

[nodep5]

great review, spot on for my money.

 

And he called out us fans for being unable to please.

 

No, I realy thought this review said it all.

[Guest Jules]

He can't win, Jeff Tweedy. As frontman and songwriter for arguably America's finest live rock band, certainly one of its most adventurous by reputation, whenever Wilco release a new record, latterly, someone's not satisfied.

 

Fourteen years or so after the band's alt country, rootsy beginnings, every Wilco release has been increasingly anticipated by the alternative rock cognoscenti, the discerning underground dwellers who charted their evolution into boundary-pushing experimentalists around the time of 2002's classic Yankee Hotel Foxtrot and it's Grammy winning successor 'A Ghost Is Born'. Before then (the late 90's 'Being There' and 'Summerteeth') and since then (the last studio outing 'Sky Blue Sky') Tweedy's been responsible for writing some superior 'pop' and enduring country/folk gems. Reinvention, new takes on Wilco's sound (not to mention line-ups) have kept interest high. So when the band leader emerged from the largely mellow vibe (and only mildly well received) of 'Sky Blue Sky' to announce that their seventh studio album 'Wilco - The Album' (hmmmm) would be a return to something more 'experimental', anticipation was sky high. The trouble is the more successful Wilco get, the more people he has to please. Someone then, would probably be crying 'foul' - either the leftfielders who wowed to Yankee Hotel Foxtrot's sonic adventure - or the growing number of mainstreamers who have come to love Tweedy's songwriting and mastery of a pop tune (just don't call it 'dadrock' - possibly the most insulting label ever foisted on a musical sub-genre).

 

So, understandably maybe, this time Tweedy has come up with a balancing act, with 'all things to all people', never an easy trick to pull off without dodging flak from one quarter or other. You know the score, 'you can please some people some of the time, but you can't....' In other words it's an eclectic collection, but no groundbreaker, and as such, there'll be some who'll feel he's fallen short of what he promised, or certainly hinted at. There's no doubting the quality of the compositions though, and in terms of reach this could just be Wilco's 'Automatic For The People' when REM reached a much wider audience without compromising their artistic integrity. Mass appeal doesn't have to mean dumbing down. While the songs here are largely instantly accessible, repeated listens reveal much more, notably because of the amount of detail in the structures. The more these lovely songs reveal, the more they hook you in.

 

The conflict and tension of some of his previous work seems to have passed (maybe because he's no longer working with sacked former band member Jay Bennett with whom he fell out furing the making of YHF - and who's now suing him for alleged unpaid royalties). Tweedy's demons back then manifested themselves through his music. Chronic migraines, panic attacks and addiction to painkillers even led to a ten minute noise 'drone' on record at the end of 'A Ghost Is Born', replicating the nagging intensity of a migraine - it was a painful listen too off the back of the beautiful 'Less Than You Think' (and unheard of in a Grammy award winning record).

 

Since then though Tweedy has come safely out the other side, rehab for his addiction, another Grammy-nominated album in 'Sky Blue Sky', and now this, the band's first with a line-up unchanged from its predecessor. There's a deliberately lighter mood too, a camel standing to attention with its humps forming the shape of a 'W' makes up the cover artwork, and 'Wilco (The Album)' kicks off with the playful 'Wilco (The Song)'. It's punchy, it's catchy and we're up and running.

 

On repeated listens there's a late period Beatles feel to some of the eleven songs here. 'Deeper Down' with its unexpected stops and starts and swooping pedal steel guitar also brings back memories of Wilco's 'Summerteeth' era, beautiful songs like 'She's A Jar' and 'In A Future Age'. Next up 'One Wing' is an instant, understated alt-rock classic, melodic and beautifully crafted with otherworldly guitar flourishes from Nels Cline and a restrained, stuttering drum pattern from sticksman Glenn Kotche. This was a song introduced as a 'WIP' (Work In Progress) by the band on the Lollapalooza tour of the USA last year - it's fascinating to hear how it developed in the interim period - the guitar pyrotechnics at the end in the live, working version have been dispensed with in favour of a more concise studio recording (check out the live Lollapalooza version on Youtube).

 

Just as good, 'Bull Black Nova' promises to be a live tour-de-force. It's the one track here that will really appease those who want more adventure from Wilco - Tweedy hasn't sounded as edgy, wired and unhinged as this in years, the tale of a man who's apparently killed his girlfriend, fleeing the scene in a Chevy Bull Black Nova. 'Blood in the sink, blood in the trunk!' he cries in panicked realisation at what he's done, to a metronomic beat reminiscent of 'Spiders (Kidsmoke)' from 'A Ghost Is Born' or The Velvet Underground's 'White Light White Heat' while the song builds to a dark, powerful climax driven along by Nels Cline's buzzing and wailing guitar gizmos.

 

Stand by for plenty of MOR radio play for 'You And I' where Tweedy teams up with Leslie Feist (she of the Ipod advert, '1-2-3-4-tell-me-that-you-love-me-more', you know the one!) for a simple love song. I have to confess I've been waiting for it to start annoying me but repeated plays have drawn out the opposite reaction. It's a lovely duet, topped off with a beautiful backwards guitar outro.

 

Another slow one, 'Country Disappeared' is nicely carried off by Tweedy's keening vocal over a lovely melody, while the album's eclecticism is brought home by 'Sunny Feeling', a bright, roots/pop stompalong in the vein of 'Walken' off the last record.

 

'You Never Know' has George Harrison's mark all over it, right down to the slide guitar break from 'My Sweet Lord', not a steal, it's too obvious for that, just a knowing wink in homage to the man. Likewise, behind the hushed, strummed 'Solitaire' the background organ is very reminiscent of Nick Drake's lost classic 'Northern Sky'. Wilco love a lost classic, on stage they've often played the early '70's Bill Fay beauty 'Be Not So Fearful', in fact a couple of years ago Tweedy even lured the long vanished English songwriter onstage for the first time in thirty years to sing it with him at London's Shepherd's Bush Empire. The album's pretty closer 'Everlasting' (just no lighters in the air please) carries faint echoes of the Fay song, before disappearing rather too quickly over another lovely outro, all subdued strings, glimmering horns and gorgeous Cline guitar signatures.

 

Overall then, a diplomatic half-way house, and Jeff Tweedy may well have turned inwards sooner than the band to whom Wilco are often compared, Radiohead. But you get the feeling he's never run dry, more a case of having to suppress an unstoppable flow. He's always been able to write a great song, and for all the demands on his and the band's creativity, you can't keep a good man down.

 

 

Review - Chris Skudder - May 2009

[W(TF)]

Yep a fair review without undue apologetics. The only thing that bugs me in these reviews is the constant allusions to mass appeal or widespread commercial success. Isn't the band "successful enough" for everyone yet? (in an era dominated by 'talents' like Jessica Simpson and the Jonas Brothers)

[Central Scrutinizer]

He notes the comparison I've made to REM's Automatic for the People ("reached a much wider audience without compromising their artistic integrity"). However, I'm hoping that W(TA) is more akin to Out of Time and that a valid comparison to REM's greatest album will be the next one to come.

 

I think that could come if Tweedy strove to please himself -- or set before himself the goal to create a masterpiece, not just to please his fans.

[Doug C]

I, too, thought that it was a fair and balanced review. More importantly it expanded my vocabulary. I plan on using 'latterly' as much as possible in my classes tomorrow. I owe it to my students.

[Wendy]

http://www.skyarts.co.uk/music/

Are you the author of this article, keeprighton2?

[keeprighton2]

Are you the author of this article, keeprighton2?

 

Are you the Wendy in Born To Run, Wendy?

[Wendy]

Are you the Wendy in Born To Run, Wendy?

No

 

Are you Burt Bacharach?

[Central Scrutinizer]

... you've been listening to the latest round of "I Know You Are, What Am I?"

[keeprighton2]

Are you the Wendy in Born To Run, Wendy?

 

Rumbled

[Theremin]

He notes the comparison I've made to REM's Automatic for the People ("reached a much wider audience without compromising their artistic integrity"). However, I'm hoping that W(TA) is more akin to Out of Time and that a valid comparison to REM's greatest album will be the next one to come.

Well, if a band really wants to appeal to a wider audience they need a memorable single to carry the record. Out of time had Losing my religion, W(TA) has... You Never Know. Hmm.

 

Also, this review is cleary well-written but it's a bit too much on the positive side to be called 'balanced'. Obviously written by a fan.

[nodep5]

Well, if a band really wants to appeal to a wider audience they need a memorable single to carry the record. Out of time had Losing my religion, W(TA) has... You Never Know. Hmm.

 

Also, this review is cleary well-written but it's a bit too much on the positive side to be called 'balanced'. Obviously written by a fan.

 

Here we go again, God forbid we be open to the idea that many like this album.

What is that, "too positive, must be a fan".

What is going to make people satisfied? If you are waiting for Pitchfork to call it the greatest dad rock album of all time I'm sure you only have to wait a few more weeks. Geez!

[nodep5]

sorry, just thought this review was actually extremly fair good/bad. And I still see people wanting blood on this record like it is the worst, most insulting music ever put to tape.

[Theremin]

Here we go again, God forbid we be open to the idea that many like this album.

What is that, "too positive, must be a fan".

What is going to make people satisfied? If you are waiting for Pitchfork to call it the greatest dad rock album of all time I'm sure you only have to wait a few more weeks. Geez!

No, I never said this was an epic failure of dad rocking-proportions or anything. I just think this record isn't exactly whitout some flaws, whereas this review only seems to take time to zoom in on the good things.

 

sorry, just thought this review was actually extremly fair good/bad. And I still see people wanting blood on this record like it is the worst, most insulting music ever put to tape.

Maybe you need to calm down. There's nothing wrong with some constructive criticism.

[H to the ickle]

Well whoever wrote it isn't a very good writer. Some decent observations but his prose is for shit.

[KansasAl]

absolute spot on. I am kinda spooked by how much I agree with the entire thing.

 

This quote makes me nervous:

"Next up 'One Wing' is an instant, understated alt-rock classic, melodic and beautifully crafted with otherworldly guitar flourishes from Nels Cline and a restrained, stuttering drum pattern from sticksman Glenn Kotche. "

 

I am afraid he may be right. This song is short and very very good. Perfect legnth for airplay. Airplay equates to more popularity. I selfishly really don't want this to happen. I'm getting to old for that. I saw U2 for the first time in 1984. REM in '87 and DMB (save it) in '94. All went on to be friggen stadium packers. Now I am not saying that's where they are headed, but it is only a matter of time when some of your "not so into music friends" stop replying "who?" when you speak of Wilco and reply with "oh I love them!" There is just too much talent there to go unoticed by the masses forever. AHHHH I just scared myself.

[Good Old Neon]

More often than not, this thing reads as if it suffered several passes through some sort of free translation software or something or other.

[So Long]

It's a good article, Wilco isn't under investigation here, no need to bash the poor writer.

[nodep5]

No, I never said this was an epic failure of dad rocking-proportions or anything. I just think this record isn't exactly whitout some flaws, whereas this review only seems to take time to zoom in on the good things.

 

 

Maybe you need to calm down. There's nothing wrong with some constructive criticism.

 

I felt calm when I typed. I'm fine, I just think people are viewing this album through some distorted lense of critical art rock hipness. Hell maybe my expectations are different. I've been a fan since the beginning and I no longer go into any Wilco album thinking this is going to change my world. I go in thinking, this will be a great listen with a few a songs that rank up their with their best. Hey it is my favorite band, always great to hear from your favorite band. I'm just saying I'm not going into it needing for Wilco to prove anything other than they can create great songs. That is why I think the Let It Be analogy works (not saying WTA is that level). People rip that album because it lacks any experimentation or studio tricks. Tell my how many songs suck on that album? Now tell me how many songs suck on WTA. Oh, I know "the long and winding road" is lame and I know "you and I" is lame. Cmon they are sweet songs.

[Good Old Neon]

It's a good article, Wilco isn't under investigation here, no need to bash the poor writer.

 

So, it

[explodo]

I thought the article read as if somebody had read the VC album thread and then compiled the most dominant thoughts. It was venturing into the too positive to be considered balanced, but this board trends that way as well for obvious reasons.

[Jesusetc84]

I think writing this album off for not being experimental enough is sort of distorting what Wilco has always really been; They're not Trout Mask Replica era Beefheart. They're a pop band. Even at their weirdest, they've been a pop band. There's probably 10 minutes of noise to 40 minutes of pure pop on YHF.

 

It's funny to me, because when I hear say, Being There, I hear all of the things you all are complaining about for W(TA). To me there's no song on W(TA) that's as cheesy as "What's The World Got in Store?". Everything you all have complained about with this album, that it's not inventive enough, that it's canon-worshipping, can all be hurled at at least 3 or 4 other Wilco albums that you would never say a bad thing about; how is anything on W(TA) more dad rock than "Hummingbird" or "I'm The Man Who Loves You"?

 

The truth is, Wilco has always been a band that loved pop classics as much as they loved underground music. I don't hear this as being out of synch with their old albums; they've always knowingly pointed to their influences, whether it was Johnny Cash on "Forget The Flowers", Summer of 67 Beatles on "She's a Jar", or Neil Young on "At Least That's What You Said". This is a band that has always valued songcraft over expirementation. The fact that the two elements coexisted for a few albums doesn't suddenly make them Black Dice.

 

I don't know what some of you were expecting, but this record is exactly what I was hoping for. I'm just glad this is more Beatlesesque pop instead of Sky Blue Sky's brand of mid-70s california soft rock.